Hello Folks.
Well, I've been good for a while, but I'm back...
This is from a UechiRyu Zankyokai perspective only, so it may not apply to any other system or style. Some may find it mildly interesting, or useful – or not...
In the basic UechiRyu system we are taught there are three original forms that came from China. Kanbun Uechi SenseiÂ’s son (Kanei Sensei) began forming the basis for more kata around 1931, as stated in the old 1977 UechiRyu Kyohon (I can supply the text location if someone wants to check it himself). Depending on who tells the tale, there are various reasons for the creation of five additional (contemporary) forms that were officially added to UechiRyu by the early 1960Â’s. Regardless of the reasons cited, we now have a set of eight official forms in UechiRyu KarateDo.
Some groups within the UechiRyu-related systems add more kata now and then, for their own reasons. One added a kata for “entertainment and competition purposes” (as stated in a news interview by the seniors of that association), citing a rather dynamic kata from another system that served as their model. Others recycle techniques from the other 8 UechiRyu kata, re-sequencing previously-taught techniques. Still others feel there is a real lack of material to teach certain concepts, and so create a form specifically calculated to develop those concepts.
Depending on how they are taught and what lessons the teacher chooses to put into them, each kata has a different purpose and reason for its specific placement within the system. For some, these are just “fillers” between the “real stuff” (the three original kata from China). For others, they are stepping stones to higher physical and technical proficiency. For the Zankyokai, each kata teaches a specific element that must then be incorporated into the previously-learned forms before growth in the system can be achieved.
For example, Sanchin (1st form) teaches basic gross movements that will later be transformed into strikes and blocks, and applied in bunkai and kumite. Kanshiwa (2nd form) teaches control of physical strength if one has it, or to develop physical strength if one lacks it. This is then added to the Sanchin performance and is practiced until satisfactory results are achieved (strength is developed and controlled with precision).
3rd form is Kanshuu, which for us teaches timing and the relationship between upper and lower body movements, between blocks and strikes, steps and strikes/blocks, alacrity, and taking advantage of openings in the attacker’s movements. This precision striking with timing relationships is then incorporated into the practice of Sanchin and Kanshiwa – we now have a new feel for those previously-taught forms.
At this stage we implement a simple bunkai for Kanshiwa, to teach timing with a partner (not real defense, but to safely initiate practice of timing-relationship between attack and defense).
Our 3rd kata is Seichin, and primarily teaches us softness (soft snappy moves with powerful grip on blocking hands, and hard impact on final strikes). After achieving a degree of understanding in this element, it is integrated into the moves of the previous forms – we now have an all-new comprehension of the previous forms.
And so forth. Each progressive kata teaches a different and more advanced element, instilling deeper meaning and value in the training, not just increasingly complex techniques. Each next kata builds on the previous forms, like building a pyramid, while augmenting and enhancing them. So we have a basic set of eight training elements, and eight kata to form a framework in which to teach them. If we had more such elements to teach, we might have more kata.
Toyama Sensei created more forms but we do not call them “kata”. We simply designate them as “drill forms”. Two of these forms preserve our prearranged kumite sets as single-person training forms – both sides of the kumite are represented but as a single-person exercise, teaching a practical application to the concepts learned in the traditional 8 kata. He also created a form using the familiar hojo undo set, much more interesting and dynamic to perform than simple repetition of the same 13 block-punch-kick drills each day. He created a form from fighting moves and concepts taught to him by Kanbun Sensei and augmented by his personal experiences in real fighting. But he was insistent that we do not call them true kata, only drill forms.
So, how many forms are necessary? From a Zankyokai standpoint, a system or style needs as many kata as there are basic elements to train. Each kata is oriented toward instilling its specific element which is then added to the understanding and performance of all the previous forms. If we had 50 basic training concepts or elements, we might need 50 kata. In our case, 8 is plenty.
Perhaps practitioners of systems with 30 or so kata might seek out their founders, their founderÂ’s detailed histories, or those who are closest to the origins of their systems, and rediscover what training elements or lessons are embedded in each kata. Keys might be found in the names of the kata, or in their specific placement in the traditional system.
Anyway, thatÂ’s the ZKK take on number of kata. The number isnÂ’t as important as the meaning of the kata and their position or placement in the training syllabus.
No Masters were injured or killed during the typing of this entry, but it was tested on cute little furry animals by being read aloud to them.
Regards,
Seizan
